Photography News 80 WEB

Photography News Your FREE newspaper packed with the latest news, views and stories Prize word search / Win a Samsung 256GBmicroSD memory card Big test: Fujifilm X-T200 / Budget best buy? The right stuff / Gear up for great summer scenics

ISSUE 80 18 Aug-14 Sep 2020

Olympus goes fourth With the unveiling of the OM-D E-M10 Mark IV , Olympus has now updated three of its most popular models, making its range stronger than ever

The Nikon Z 5 has plenty of attractive features – and that includes its price. The Z 5 and Z 24-50mm f/4-6.3 kit costs £1719, and those photographers with a Nikon F lens or two can add an FTZ mount converter. This kit costs £1859. Sales start late summer. The Z 5 has a 24.3-megapixel CMOS sensor, 4K video and a native ISO range of 100- 51,200 that can be expanded to 102,400. The EVF has a 3690k dot high-resolution display, so is similar to the Z 6 and Z 7 models, and autofocusing is handled by a 273-point phase/ contrast detect hybrid system that provides face/eye detect for human and animal subjects. Nikon also unveiled two Z series teleconverters, the Z TC-1.4x at £549 and the Z TC-2.0x at £599. Both are weather sealed and compatible with the Z 70-200mm f/2.8 VR S. • Nikon’s latest full-frame model is aimed at wannabe full-frame shooters on a budget Nikon launches Z 5

AS A LIGHTWEIGHT and compact camera for travel – or just to have in the bag whenever you’re out – the OM-D E-M10 series has a great deal going for it and it’s nicely priced, too. The new OM-D E-M10 Mark IV is £699.99 body only

and there are significant improvements over the Mark III. The biggest is resolution, up to 20-megapixels from 16-megapixels. Features like the in-body image stabiliser, 2360k dot EVF and a mechanical 60secs- 1/4000sec shutter range are

shared, but the E-M10 Mark IV is a few grams lighter, the IBIS system gives 4.5EV of benefit instead of 4EV, and it can shoot up to 15fps, which is up from 8.6fps. The new camera sports a 121-point contrast-detect autofocus system, which, on the face of it, is no different from the Mark III. However, Olympus says it features an upgraded autofocusing algorithm, which is said to give a phase detect-level performance. The result is greater accuracy and sensitivity when contrast is low and in addition its face/ eye detect skills are greatly improved. Turn to page 3 for more details about the OM-D E-M10 Mark IV and the new M.Zuiko 100-400mm f/5-6.3

›   In-body image stabiliser with 4.5EV benefit ›   20-megapixel Live MOS sensor with TruePic VIII processing engine ›   15fps continuous shooting in single AF ›   New continuous focusing Key features: Olympus OM-D E-M10 IV algorithm ›   4K video ›   Wi-Fi and Bluetooth ›   Shutter range 60secs- 1/16,000sec (electronic shutter), 60secs-1/4000sec

(mechanical shutter) ›   ISO 80-25,600 range ›   Flip-down monitor ›   USB charging ›   Accepts 1 x SD UHS-II ›   383g body weight

ABOVE With the Nikon Z 5 temptingly priced, the benefits of full-frame shooting can be enjoyed by more photographers – and the Z 5 boasts an impressive features list, too

telezoom lens. •

2 Photography News | Issue 80

Read FREE online


Get the latest issue FREE to your inbox when you sign up for our newsletter at

If you prefer a print copy delivered to your door, a yearly subscription costs just £19.99 . See our website for details.

Olympus goes fourth


Olympus has recently revitalised the OM-DE-M5 and E-M1.The latest to receive the upgrade treatment is the OM-DE-M10, so give a big welcome to theMark IV

The Olympus OM-D E-M10 series is all about portability and creativity, and the Mark IV embodies those core values with a feature list that’s sure to attract those committed to the brand, as well as newbies, including those coming from a smartphone background. The body, which weighs in at 383g including a battery and card, features a five-axis sensor shift image stabiliser with 4.5EV benefit, a 20-megapixel LiveMOS Micro Four Thirds sensor, USB charging and the ability to whizz through shots at 15fps. A silent mode is available when shooting discretion is needed. There’s a flip-down touch monitor for selfie shooting – the first Olympus to have this feature – and the high- definition 2360K dot EVF gives a lovely viewing image. A big step forward with this camera is its autofocusing system with improved continuous autofocusing thanks to a new contrast

algorithm that’s said to give a performance comparable to on-chip phase detect AF and the face priority/eye priority also works with faces in profile and downturned. A full range of exposure options is available, while the Advanced Photo mode helps inexperienced users to achieve creative images, for instance shooting multiple exposures and live composites. The OM-D E-M10 Mark IV is available frommid-August at £699.99 body only and in a range of kits. Olympus has also bolstered its lens range with the addition of the M.Zuiko Digital ED 100-400mm f/5-6.3 IS. The lens features 21 elements in a 15-group construction and no fewer than ten elements are advanced glass to help deliver a great optical performance at all focal lengths and across the image frame. But what’s really impressive about the lens’s physical design is its size and weight: it’s just 20.5cm

long and weighs 1120g – that’s incredible for a zoom lens that gives the 35mm format equivalent of a 200-800mm focal length range. Key features include a 3EV image stabiliser (not compatible with Sync IS), a 72mm filter thread and hermetic sealing to ensure the lens is dust, splash and freeze proof. To reduce flare and ghosting, the lens features Olympus ZERO (Zuiko Extra- low Reflection Optical) coating. The lens’s focusing system has a focus clutch and a focus limiter with three distance ranges available. Minimum focus is 1.3m and the lens supports focus stacking. Finally, the lens is also compatible with the Olympus MC-14 and MC-20 teleconverters for even more pulling power. The M-Zuiko Digital ED 100-400mm f/5-6.3 IS is available from late August with a guide price of £1099.99. 19 Buyers’ guide: printer and paper Home printing has never been easier, so it’s the perfect time to focus on the latest printers and media to show off your latest shots 22 Big test: Fujifilm X-T200 An entry-level FujifilmX Series camera that’s compact, dead easy to use and has a lovely, big touchscreen. See howwe rate it 24 First tests Our monthly trawl through new kit: the Lexar CFexpress Type B 128GB card, LEE85 system, a Peak Design bag, Olympus 2X teleconverter and the H&Y 100mm filter system

We’re in the middle of the holiday season and I’m staying home, getting my photography fix locally and enjoying what the local countryside has to offer. I’ve been trying my hand at insects with very limited (none!) success and, by the time you read this, the barley field that I’ve been shooting in July will have been harvested, but I’m sure I will be fixating on other locations and subjects. The heavens maybe. The other night, I walked all of 100 metres to the local cricket pitch and tried shooting comet Neowise, which was brightest in late July. I had a clear sky for about an hour so got a few snaps, but more attempts were thwarted by cloud. Astrophotography is something I’ve always liked the idea of, but haven’t managed to get into. I have done a few stacked star trails but, for example, I haven’t managed the Milky Way yet. I don’t have the patience or the commitment but one day I will invest in a star tracker and make more of an effort. Olympus cameras made our front cover this month with news of the OM-D E-M10 Mark IV. With this newmodel and the E-M1 and E-M5 both recently available in their Mark III variants, three key members in the Olympus line-up have now enjoyed significant and worthwhile upgrades. You will have seen the brand in the news a great deal recently, with Olympus selling the camera division to an investment company. “Olympus quits camera business after 84 years” was the headline on the BBC website and there generally seemed to be a lot of pessimism and negativity about the whole thing. Yet to me a lot of it was, to put it mildly, misplaced and premature. Yes, by the end of 2020 the Olympus Imaging business will very likely be owned by Japan Industrial Partners ( JIP). Now, I’m no financial expert, but I do know successful investment funds do not spend huge sums

of money on a brand to kill it off. I’m sure JIP, with the imaging management team, will have a plan and product road map for the future and, speaking as a fan and user (I started with an OM-1) of the brand for over 45 years, I’m looking forward to hearing those plans. As it happens, the last camera I properly field-tested before lockdown in late March was an Olympus camera: the OM-D E-M1 Mark III. In fact, I was on a few days’ break with my partner in the Yorkshire Dales enjoying some photography when lockdown was announced and we had to curtail our plans and come home early. I thought the camera was excellent and enjoyed its company, especially with the 300mm f/4 lens. This lens, giving the equivalent of 600mm on 35mm format, is awesome and so compact and user-friendly. I have tried Olympus’s new 100-400mm f/5-6.3 that was recently announced and that’s even smaller and lighter. Its long end is equivalent to an 800mm f/6.3 in the 35mm format. We’ll have a test of this lens soon, but it looks good so far. Long lenses are in vogue. Canon launched a bunch of kit last month and that included the RF 600mm and 800mm lenses. Both are full-frame fixed f/11 lenses, have autofocus and image stabilisers – and both are even lighter than the Olympus 300mm but, of course, 3EV slower. Each also costs under £1000, thus bringing prime lens, long telephoto imaging within the reach of more photographers. The last time I used a fixed aperture telephoto lens was when I was shooting film. It was a 500mm f/8 mirror lens and it was a struggle to focus, let alone get anything decent out of it. Now, with the ability to explore higher ISOs with alacrity in digital and to shoot high- quality pictures at ISO 3200 and beyond, I’m really looking to see how these lenses perform. See you again next month.

3 News New cameras from Canon, Olympus, Leica and Nikon, plus free talks by The Royal Photographic Society and how you can enjoy The Photography News Podcast 8 Word search Your chance to win a Samsung

12 Shoot summer scenics Get out and enjoy the landscape with your camera

256GB microSD card 11 Club news

15 Make the Switch Reader Darren Smith likes nothing more than shooting with his Fujifilm X-T2, but recent health issues have made that difficult. He’s optimistic, though, and more photography is around the corner

With the situation evolving day by day, clubs have to be flexible to meet the latest health & safety guidelines and keep their members engaged. It’s a challenging time for all


@photonewsPN @photonewsPN


Issue 80 | Photography News 3


Nikon launches the Z5

Made in Leica’s Wetzlar factory, the M10-R is a 40-megapixel rangefinder using a new full-frame sensor specially designed for this model – it’s the first non-specialist M model to sport 40 megapixels. The new arrival joins the M10, M10-P and M10 Monochrom to complete the M10 family. The new sensor captures in 14-bit Raw using the DNG format and in 8-bit JPEGs, and is capable of recording 13.5EV dynamic range. The ISO range is 100-50,000 and Leica’s new camera claims to have an exceptional high ISO/ low-light performance. The M10-R features Leica’s classic rangefinder system, so no EVF here, but instead there’s manual focusing and brightline frames to indicate the lens renowned for their quiet shutters, making them perfect when discretion is needed, and the M10-R is no exception. It features the same mechanical, extra- quiet, low-vibration shutter as found in the M10-P. field of view. Live view is possible via the fixed monitor. Leica M cameras are The M10-R is available now and the body price is £7100. R for resolution Leica’s latest full- frame M rangefinder boasts a 40-megapixel resolution with its new sensor that also delivers an exceptional dynamic range and low-light performance

Nikon targets upgraders and full-frame wannabes with its entrymirrorless body

NIKONZ 5ATAGLANCE ›  £1719 with 24-50mm kit

› 24.3 megapixels › 6016x4016 pixels

Nikon has swelled its range of Z series cameras with the new Z 5 and two Z-specific teleconverters. The Nikon Z 5 is a full-frame mirrorless camera, positioned below the Z 6 and Z 7 in the line-up. It’s effectively the entry-level camera in the full-frame portion of the Z series, and aimed at those upgrading to full- frame, people switching to mirrorless from DSLRs or photographers who want a backup body for their existing Z series camera. The Z 5 has a 24.3-megapixel 35.9x23.9mm CMOS sensor, giving 6016x4016 pixel files, an ISO range of 100-51,200, expandable to 50-102,400, and shoots 4K UHD 3840x2160 video at up to 30p, but with a 1.7x crop to the sensor. The Z 5’s sensor is not far off the resolution of the Z 6’s, but it’s not back-side illuminated. Outwardly, the new camera is almost identical in size to its full- frame relations, but with the lack of a top-plate LCD, and moving the mode dial to the right of the EVF, it looks a bit more like the APS-C mirrorless

Z 50, albeit slightly larger. Importantly, it still has a large grip and includes lots of manual inputs, including Fn buttons, twin dials and a focus lever, and the body is weather sealed. The tilting 3.2in touchscreen has a 1040k dot resolution and the 3690k dot electronic viewfinder is pretty much identical to the well-respected EVFs on the Z 6 and Z 7. And in a move that will please some, it’s got twin SD card slots instead of the single XQD/CFexpress slot as on those previous full-frame Z bodies. The Z 5 uses a hybrid AF system with 273 points and, like other Z series cameras, offers face and eye detection AF both for people and animals – only cats and dogs are specified for the latter, but you can expect it to work on some other species, too. It also has five-axis vibration reduction in the body for sharper stills at slow shutter speeds, as well as smooth motion in video footage. Top continuous shooting speed is 4.5fps, which is still a perfectly useful rate.

› ISO range 100-51,200 › 273-point hybrid AF ›  Five-axis, 5EV benefit in body image stabilisation › 4K video › 3.2in tilting LCD touchscreen

Coming bundled with the Z 5 and designed to complement its streamlined styling is the Z 24-50mm f/4-6.3 standard zoom lens. Weighing 195g, this super-portable model has a retractable design, so it will close to only 51mm long when you need to save space. It also takes 52mm filters, which is another space saver. Available from late summer, the Z 5 and Z 24-50mm f/4-6.3 kit will cost £1719 at launch, and for £1859 you also get an FTZ mount converter in the kit, allowing you to use Nikon F-mount lenses. Also officially announced are two teleconverters, specifically designed for the Z series: the Z TC-1.4x at £549 and Z TC-2.0x at £599, both of which have a tough anodised aluminium build and weather sealing. The first

› Dual SD card slots › USB charging/power

lens to be compatible with these extenders will be the previously announced Z 70-200mm f/2.8 VR S, but there are other upcoming models on the Z series lens roadmap that will surely be compatible with it, too. Speaking of which, the Z series lens roadmap has been updated to include an image of the much-anticipated Z 14-24mm f/2.8 S. More details of this fast wide-angle zoom are scheduled for later in the year, but unlike its F-mount predecessor, it looks set to take threaded filters, which should increase its appeal to keen filter users. Super-slim Lexar

Sony’s ultimate hybrid Sony’s full-frame mirrorless system goes from strength to strength and the unveiling of the much- anticipated A7S III is sure to attract video shooters

The new slim Lexar SL200 Portable SSD has a read speed of 550MB/s and write speed of 400MB/s. It has a USB 3.1 Type-C interface and is compatible with both Mac and Windows. The Lexar SL200 Portable SSD 512GB costs €89.99 and €159.99 for the 1TB version. Lexar announces new portable SSD

The full-frame Sony A7S III is aimed at video professionals and hybrid still/video shooters. At its heart is a brand-new 12.1-megapixel, back-side illuminated Exmor R CMOS sensor working in conjunction with a Bionz XR engine. Its ISO range is ISO 80-102,400, expandable to 40-409,600, there’s an impressive 15EV of dynamic range during movie shooting and the EVF is the world’s largest, with a staggering 9440K dot OLED. Its autofocus system uses 759 phase detection points covering

92% of the image sensor, with enhanced real-time eye AF in movie recording, and its working sensitivity is rated down to -6EV. The A7S III is equipped to shoot over 1000 uncompressed Raws at 10fps (or 8fps in live view) with either electronic and mechanical shutters and it’s the first camera to have CFexpress Type A slots. This new size card – its smaller than Type B – has enabled the space to fit two slots and, interestingly, both slots also accept SD cards. There’s no doubt that the A7S III is a capable stills camera, but

it’s the video features that give it greater appeal. It can shoot 4K/120p or in 4K/60p and there’s the option of 16-bit Raw via HDMI, the first Sony A camera to have the feature. There’s 10-bit 4:2:2 colour depth, XAVC HS format with H.265 codec and an advanced heat dissipating mechanism, which allows over one hour of continuous 4K/60p 10-bit recording with two CFexpress cards used in relay. The A7S III is available in September with a body-only price of £3800.

Editorial team Editorial director Roger Payne Editor Will Cheung FRPS 01223 499469 Digital content writer Lee Renwick Chief sub editor Beth Fletcher Sub editors Elisha Young and Felicity Evans

Advertising team Group admanager Sam Scott-Smith 01223 499457 Senior sales executive Jemma Farrell-Shaw Key accounts Mike Elliott

Design team Design director Andy Jennings Senior designer Laura Bryant Design & ad production Man-Wai Wong Distribution Distribution and subscriptionmanager Phil Gray Publishing team Managing directors Andy Brogden & Matt Pluck As well as your local camera club, you can pick up Photography News in-store from: Cameraworld, Castle Cameras, Jessops, London Camera Exchange, Park Cameras, Wex Photo Video, Wilkinson Cameras

Photography News is published 11 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. Photography News is a registered trademark of Bright Publishing Ltd. The advertisements published in Photography News that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. While Bright Publishing makes every effort to ensure accuracy, it can’t be guaranteed. Street pricing at the time of writing is quoted for products.

Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ

ISSN 2059-7584

When you have finished with this newspaper, please recycle it

4 Photography News | Issue 80

Issue 80 | Photography News 5


Epson has introduced two top-quality photo printers aimed at enthusiast and professional photographers, with the promise of more intense blacks, a superior blue performance and a smaller footprint. Photography News gets the lowdown from Epson’s account manager, DomGurney ADVERTISEMENT FEATURE Thepleasure of prints

›  Epson SureColor SC-P700 £678 ›  Epson SureColor SC-P900 £1086 ›  Epson printheadwith Black Enhance Overcoat technology ›  Ten UltraChrome Pro 10 inks Including new Violet ›  Constant Photo andMatte black inks ›  Expanded blue gamut ›  Auto sheet feeder accepts fine-art media ›  4.3in LCD optical touchscreen ›  Printing fromsmart devices ›  Three different paper paths for widemedia range ›  Spindleless roll feed unit on SC-P700 (optional on SC-900) ›  Small footprint ›  Epson Print Layout software KEY FEATURES

PN Please could you introduce the SC-P700 and 900 printers and explain who they are aimed at? DG Yes, they are aimed at photo enthusiasts through to professional photographers. They have the technologies that have come down from our wide-format professional printers, so the quality is there, Primarily, I think the A3+ SC-P700 will appeal to the camera club members and photo enthusiasts – people who enjoy taking pictures and want to make prints at home for the best quality. They probably own a top-quality camera and spend a lot of time shooting to produce their pictures and don’t want to let it down at the end by using a low-end, office- type printer or by sending it away for someone else to print. It makes me smile when I speak to people who are entering competitions and I hear that they BELOW Three paper paths are available on both of Epson’s new printers. This is the front media path, which keeps the fine-art media or Epson’s Enhanced Matte Posterboard completely flat

are sending their prints away. They’ll talk to me and say, ‘I climbed this mountain, waited three hours for right light, and did this and did that, then I got back and spent hours editing my shots.’ So, having spent hours and hours on a picture using expensive camera equipment, right at the end on the bit they are actually going to be judged on, they’ll send the file away for somebody else to let them do whatever they do to every print. They aren’t just looking at just yours, they are looking at thousands. When I say this, the response is: ‘I didn’t think about it like that.’ That’s when cost comes into it. People say it’s cheaper to send it away. But is it? The difference could mean better scores – and even winning. PN You said the SC-P700/900 incorporate features fromEpson top-end printers – does that include the new printhead? DG The printhead was designed specifically for these printers. The core Epson Piezo head is our technology that’s shared across our

printers, but then ten channels in this format were designed for these printers. The violet ink, however, has been on some of our larger format professional printers, but the formulation is slightly different, because those printers are for the proofing of magazine covers and the like, which will be reproduced using the CMYK printing process, so the colour gamut is different. In essence, though, the violet ink is there to expand the colour gamut in the blues, but it also helps give more shadow detail, because it gives an extra gradation in those areas. PN Epson’s literature says the D-Max of new printers is greater – rated at 2.91 against the 2.8 of previous models – and there’s Carbon Black mode and Black Enhance Overcoat technology to achieve this. What are they and how do they work? DG Yes, the D-Max has gone from 2.8 to 2.91 on the new printers. It doesn’t sound much, but in scientific terms that is actually a reasonable amount and the result of a combination of technologies that includes the violet ink and the Carbon Black and Black Enhance Overcoat modes. It’s the sum of many parts rather than just being one standout feature. The Carbon Black and Black Enhance Overcoat technologies are in the printer driver. These lay down tiny 1.5pl droplets of light grey ink on the surface of the print to give a smoother finish for less light scatter, so more light is reflected off the print. By doing this, you get a glossier finish from coated papers and allow more shadow detail to come through rather than being lost due

ABOVE The Epson SureColor SC-P700 & 900 have large 4.3in LCD colour touchscreens. The screen has lots of information and you can check ink levels without having to turn the computer on. If you’re printing multiple jobs, you get a preview of the image you’re printing at that time and you can check settings of prints to light scatter. On glossy papers, it gives almost a ‘wet’ look to prints particularly on black & white prints. You don’t use these modes on the matte or fine-art surfaces I have done some comparison prints on the new printers and the older SC-P600/800 and there is an incremental difference. You will see an enhancement, with more shadow detail. PN So, the SC-P700 has the option of taking roll paper as well? DG To be fair, the SC-P600 had a roll feed with two clip-on adapters. So many times I’ve heard people say ‘I never got those’ and then you find they were thrown away with the packaging or left in the box. That was one of the reasons why we integrated a new-design spindleless roll paper holder with the SC-P700. We do get feedback from customers from all over the world who want to produce nice panoramic prints. You can technically make prints 10m or 12m long if you want with the SC-P700.

PN Do you have a favourite feature on the SC-P700/900 that has special appeal to you? DG One of the cute things for me that I like (because I am a bit geeky) is we have put LED lights underneath the lid, so you can see the print as it is being printed. Again, this is something we have taken from our large format printers. We had clients using our commercial printers saying they couldn’t check the print until it was 12in into the print, by which time, if anything was wrong, cancelling it still meant losing 12in of media as well as the ink. Now on the SC-P700/900, you can check the print while the lid is closed. And, speaking of lids, they are all designed to overlap to keep out dust when the printer is not being used, which is an enemy of printers. PN Thanks for your time and all the best to everyone at Epson from Photography News .

6 Photography News | Issue 80


Lee launches latest system Lee Filters reinvents its filter system for smaller format cameras, so say hello to the LEE85 system

Fujifilm gets flash

Stacks from Sigma Sigma’s collection of lenses for mirrorless cameras grows The 100-400mm f/5-6.3 DG DN OS is the first ultra-long telezoom from Sigma for full-frame mirrorless cameras and the fifth DG DN lens. The compact model comes in L-Mount and Sony E-mount fittings. Key features include Sigma’s Super Multi-layer Coating, focus limiter switch and customisable AF-L button. The lens’s construction is optimised for mirrorless systems and features 22 elements in 16 groups with one FLD and four SLD lenses for high-resolution performance across the frame. Close focusing is 112cm at 100mm and 160cm at the 400mm end, so the lens has potential for close-up shooting. This lens has a guide price of £899.99. Already available in other mirrorless fittings are the 16mm f/1.4 DC DN, the 30mm f/1.4 DC DN and the 56mm f/1.4 DC DN. They’re now available in L-Mount, priced at £449.99, £329.99 and £399.99 respectively. There are also L-Mount teleconverters, the Sigma 1.4x and 2x, priced at £369.99 and £399.99 respectively. Finally, Sigma has introduced the USB Dock UD-11. This device, priced at £39.99, allows users to update firmware and customise settings for its Contemporary,

Fujifilm releases a compact, richly featured speedlight and a wireless trigger to go with it

Lee Filters’ 100 system is hugely popular among scenic photographers. For APS-C and Micro Four Thirds format cameras, Lee offered the Seven5 system, but that is discontinued and has been replaced by the LEE85 system. The LEE85 system is centred around a precision- made aluminium holder that can accept up to three filters plus the polariser– guides are supplied for one, two or three filters. The 85 holder, just like the current 100 holder, can be rotated on the adapter ring or locked in position, and this has three settings – neutral, half lock and full lock. The optical resin grad and standard filters have a new tab grip, which helps handling and means you keep your fingers off the filter area itself.

The Fujifilm EF-60 is a compact and powerful speedlight suitable for X Series and GFX systems. It’s the brand’s first radio wireless flashgun and is compatible with the EF-W1 commander unit. This Fujifilm speedlight has a guide number of 60 (ISO 100/m) with flash coverage from 24mm to 200mm, with light spread as wide as 16mm possible when the integral diffuser is used. Other features include TTL flash, manual flash with output as low as 1/256 of full power and high-speed flash sync up to 1/8000sec. The flashgun also includes a high- luminance white LED that can be used as a video assist light or as a continuous light for stills shooting adding a catchlight.

The EF-60 has a built-in wireless receiver that uses the Nissin Air System (NAS) and this flashgun can be used with the Fujifilm EF-W1 commander or the Nissin Air 10s trigger. An optical wireless receiver is also built in and it is powered by four AA cells. The EF-W1 commander unit can remotely trigger and control multiple EF-60 flashguns in TTL, manual and HSS modes. Output in TTL and manual modes can be wirelessly controlled in 0.3EV increments, and in manual power can be set to 1/256 output. The EF-60 costs £389 and the EF-W1 commander is £199. The full compatibility list is on the Fujifilm website.

Four kits are available: Discover £199.99; Develop £264.99, Aspire £349.99 and Deluxe £499.99. The Discover kit comprises the holder, pouch, 0.6 ND medium grad and three adapter rings, 58mm, 67mm and 72mm, while the top-of-the-range Deluxe kit adds the 0.9 ND grad, Big Stopper, circular polariser, filter wash and cleaning cloth. There’s a two-page test on the Deluxe kit in this issue.

All about RPS distinctions In September, The Royal Photographic Society is hosting digital roadshows via Zoom to show you what is required to achieve the licentiate, associate and fellowship distinctions

If you’re thinking of putting in for a Royal Photographic Society distinction, or simply want to see some excellent work and hear the discussion, this series of digital roadshows is for you. The roadshows will be covering the various genres, how to write a statement of intent, prints and

panelling, digital submissions and where to seek advice. Also on show are the latest successes, with applicants talking about their work, and panel chairs and assessors will be on hand to answer your questions. These events are free but you need to book using the links below.

Art and Sports lenses.

DATES Licentiate 1 September 11am-1pm BST 7pm-9pm BST

Associate 8 September 11am-1pm BST 7pm-9pm BST

Fellowship 15 September 11am-1pm BST 7pm-9pm BST

ABOVE Aim for a RPS distinction with free talks this September

Six from Laowa Laowa launches six L-Mount lenses: three wide-angle and three macro

Permajet’s cover-up

Keep your printer dust free with a Permajet a smart protective cover

Permajet’s new slip- on protective printer cover, made from tough polypropylene fabric, will shield your printer from everyday dirt, dust, pollutants and sunlight, ensuring it is safe and ready to go for the next print job. Designed for the A3+ and A2 range

of Canon and Epson desktop inkjet printers, there are three sizes available: medium, large and extra large priced at £25, £30 and £35, respectively. The full dimensions are on the Permajet website, where you can order, too.

Three wide-angles and three macro lenses are now available from Laowa in L-Mount fittings. These are the 10-18mm f/4.5-5.6,

12mm f/2.8, 15mm f/2, 15mm f/4 wide-angle macro, 65mm f/2.8 2x ultra macro and 100mm f/2.8 2x ultra macro APO.

ABOVE Permajet offers three sizes of protective covers

Issue 80 | Photography News 7


Listen toThe Photography News Podcast – and it’s free!

D M C L H Q S R B W R L M R Z Z N M I M T N L T A S H O T P C X D L D W Q K E X J C X E Q Y L F R E T T U B N D A M S E L Y U V A O S H N I A E L P M O R T S R I Z L R Y G R D I P O M J A E T Y C V N S C O D D P I B A F G A I Z G Y P B V M R G W N M W B O A J S E N X U X O I H T W E B I M A I Y R S E E B W W F S R E D I P S T A P X Y S O N U Y F V L U M F R I H T H G I E H O N E Y X T L V J Y Capture life’s magical moments across all devices with the Samsung Evo Plus 256GB microSDXC memory card with SD adapter, offering read speeds of up to 100MB/s and write speeds of up to 90MB/s. Samsung’s latest cards are also ultra reliable and are water, temperature, X-ray and magnet proof, so shooting in the most challenging conditions isn’t an issue. We have one 256GB Samsung Evo Plus microSDXC card with SD adapter worth £51.99 for the eagle-eyed winner. Complete the word search below, and you’ll find one word in the list that’s not in the grid. Email us on with that word in the subject box by 13 September 2020. The correct answer to PN78 ’s word search was ‘spot’, and the Samsung 256GB Evo Plus card was won by S Stephenson from Essex. • A Samsung memory card! WIN!

Perfect for the commute, those late-night editing sessions or when you’re just feeling lonesome, join the PN team and guests as they mull over all matters photographic Join the Photography News team (editor Will Cheung, editorial director Roger Payne and contributing editor Kingsley Singleton) every fortnight for an audible feast about photography. With subjects as diverse as best-ever lenses and favourite cameras, to what they would take on a desert island and expert hints and tips to inspire your picture-taking. Plus, we’ll have special guests from the imaging trade join us, too. There’s also the chance for you to get involved as well, so if you have question you would like to put to our experts, have something you want to get off your chest or have ideas for future podcasts, please email us at: podcast@ The Photography News Podcast is available on the magazine’s website, Apple Podcasts, Spotify and YouTube. The addresses provided in the panel (right) take you to YouTube and for the episodes to date.

NikonSchool nowonline only Nikon School has closed its premises in London’s West End Nikon School went online during the national lockdown in March, and the feedback has been so positive that Nikon School’s premises, just off London’s Oxford Street, have closed. Nikon School Online will feature virtual learning sessions from leading experts and brand ambassadors. This means, of course, they will be available nationally and not just to those within easy travelling distance of London, and can be enjoyed by delegates in the comfort of their own homes. On-location courses and photo workshops in the UK and Europe will continue, too. The team reveal their self-portraits, plus why photography contests are worth the effort EPISODE 3 Inspiration for lockdown shooting and the team’s choices for their best- Shooting at home special with product photography in the bath and astrophotography from the comfort of your own home EPISODE 1 EPISODE 8 The team pick their Desert Island Kit and explain their choices EPISODE 7 The team nominate their best ever lenses, past and present EPISODE 6 Landscape special with an exclusive interview with master landscaper Charlie Waite EPISODE 5 Advice for astrophotography and long exposures, plus why you should consider back-button focusing EPISODE 4 ever DSLRs EPISODE 2 Inaugural episode with advice for at-home shooting and the team’s favourite cameras

Joby’s vlog pod The Rangepod Smart is Joby’s first full-sized tripod – and it’s designed especially for vloggers

The Rangepod Smart is a compact, travel-friendly tripod, folding down to 42.5cm and weighing in at 1.6kg. The head accepts Arca-Swiss compatible plates and the included phone clamp has two 1/4in attachment points, so phones can be attached vertically or horizontally. This tripod is available for £124.95 in red or black.





If you do not want to receive any marketing information from Bright Publishing or our partners, please type NO INFO in your email entry.

8 Photography News | Issue 80

Issue 80 | Photography News 9

10 Photography News | Issue 80


Parkstone CC Parkstone Camera Club in Poole introduced a PDI competition for those who miss seeing members’ images and entering competitions. Members could anonymously submit two images into a competition on an open theme. After the closing date, members then voted for their favourite first, second and third images, which made them appreciate the predicament faced by judges. A

Alsager CC Geoff Reader, Alsager Camera Club’s programme secretary, says: “The last face-to-face club meeting was in March 2020. Since then, we have tried several online options, before realising that Zoom had become the default for most clubs, judges and presenters. We organised our 2020-21 programme back in January of this year and made a decision in May to move the programme online for September through to December 2020. The majority of booked speakers and judges have agreed to work via Zoom. “We held our fourth internal contest for last season online with a judge from Northern Ireland. One nice thing in the current situation is that distance is no longer a restriction when booking judges and speakers, although one photographer who lives in an idyllic location in the Peak District said he would love to present his talk online, but can’t get so positive that the competition will continue monthly even after lockdown. The club’s publicity secretary Caroline Jenkins says: “We are planning on returning to physical meetings at the start of September, subject to our venue being ready and giving agreement and adherence to government guidelines. It will be good to meet up again in person. wide range of images were entered and, interestingly, almost half the entries were chosen as first place by somebody. The winning image was a striking architectural shot taken by Malcolm Barents. He says: “It just shows how subjective it is when judging an image. If you want to win, then you need an image that’s a little different and makes the viewer question what they are looking at.” It was also encouraging to see new member, Carolyne Miller, who had been reluctant to take part in a normal club competition, enter a couple of images and she was among the winners. Carolyne says she decided “to dip a toe in the water and was pleasantly surprised” at the outcome. Member feedback was


“ We have taken advantage of technology and had several video presentations over the past few months with speakers from far and wide, including France and Ireland, which we definitely could not have done before,” says Droitwich Camera Club’s publicity officer, Dave Hull. “We have now invested in an annual video communications subscription to ensure that we can continue to have such presentations when our new season starts. We’ve run regular lockdown competitions on a range of topics – the only rule being that the images must have been taken since March when the pandemic began. In addition, to ensure that we remain engaged with our members, we have published a monthly newsletter for the first time. This has not only kept everyone informed, but it has also included articles, stories

and images frommembers on a wide range of topics. “Our members have also been entering external competitions and the above image of amethyst deceiver mushrooms won Robin Couchman a place in the Worcestershire Wildlife Trust 2021 calendar. “We’re looking forward to the new season, which starts on 7 September and although we are not able to meet face to face, we have a full and exciting programme of speakers, competitions and events that will take place virtually until we are able to resume our normal meetings. These presentations will be onMonday evenings, our usual meeting night. “To help everyone, our subscription fees are unchanged for another season

“For those that aren’t comfortable, we also plan to have some Zoom sessions. The situation is continually being reviewed to see if this will be possible with the impact on our planned programme. Certainly, challenging times ahead!”

Spectrum PhotoArt visual exhibition Spectrum is a group of six photographers from the south of England: Nenne vanDijk, Jay Charnock, Penny Anderson, RosemaryWilman, SandyWhite and Lesley Rees. The group’s planned exhibition could not go ahead this year, but there is a small virtual exhibition on the group’s website. North Fylde PS “Our club opens 1 September if we can use our meeting hall at the local church,” says Wayne Paulo, the club’s exhibition officer. “If not, we will be doing Zoom talks from the last Tuesday in August. We are still producing our club newsletter and there’s a movie of our online exhibition playing on our website. Plus, at the moment, Angela Carr CPAGB is taking out small groups each weekend in the Blackpool area so members can get advice and learn about photography.”

and the usual weekly fee of £3 is voluntary until further notice.”

a reliable internet connection. He said he got good internet in remote India and in the Himalayas, just not around Buxton!” Geoff also suggests a great place for UK camera clubs to keep in touch and find online judges and speakers is UKPhotography

Clacton Camera Club is holding fortnightly get-togethers on Zoom to keep everyone’s photography going in readiness for the start of the club’s new Clacton CC

season on 11 September. The evenings are free to attend for members; for non-

members, there is a fee of £3.

Issue 80 | Photography News 11


Shoot summer scenics Taking landscape photographs to be proud of means being there at the right place, at the right time – and having the right kit tomake themost of the vision in front of you. Here’s our guide to kit every scenic shooter should have

Keep it still

The tripod is one of the most useful accessories a landscape photographer can have, allowing you the freedom to use slower shutter speeds. Equally, it’s also the easiest to leave in the car. The moral of this is to have a tripod you are happy to carry up hill and down dale. As a guide, the bigger the camera or lens, the bigger and heavier the tripod you’ll need, especially if you’re shooting long exposures in windy conditions. However, this is only a guide and smaller, lighter ‘travel’ tripods can be excellent in most situations, although some small but cheaper tripods are not worth the money. Tripods that come with pan and tilt heads using plastic quick- release plates, for example. Tripod legs are either aluminium alloy or carbon fibre and some brands offer identical models in both materials. Carbon fibre is strong and lighter so ideal for toting around, but more expensive, while alloy can be more stable due to its increased weight. Legs can be three-, four- or five-section, offering varying maximum and minimum heights, and the legs are held in position with lever locks or twist locks. Lever locks are quick to use but can loosen over time, and while twist locks are slower they can securely lock a leg without much effort, are lighter and can be easier to clean. Many tripods are sold as legs only

lets you lock the camera at almost any angle quickly, while the pan and tilt head lets you pan and tilt the camera independently and is locked in place with a twist grip. Pistol grip heads have a similar action to a ball head and are quick to use, but many don't lock as firmly as a ball head, especially with a weighty load. Cameras mostly attach to the head via a mounting plate, and the most widely used is the Arca-Swiss fitting, which is used on ball heads and L grips. You get the best rigidity with metal plates that are secured to the camera with the help of a hex key. Maximum height, minimum height, centre column design and feet options are other key factors to ponder, so let’s take those points in turn. A tripod that can get a camera to your standing head height with minimal use of the centre column is probably ideal, but not essential, and you can get away with less height if you prefer to use a lighter travel pod. Making use of the centre column to give you more height can be risky, especially if there’s a breeze, but it should be fine if you take care. Use a remote release or self-timer and allow the camera to settle before taking the shot. Being able to splay a tripod’s legs for a low shooting position is a useful feature. An alternative is a reversible centre column, which means you can get a worm’s-eye view of the world, although using the camera is made more awkward. Most centre columns are

ABOVE The Vanguard Alta Pro 2+ 263CGHT carbon tripod features a multi-angle central column

even more flexible. The Manfrotto Befree GT XPro has a centre column that can be fixed at 90° for perfect flatlays, while the Vanguard Alta Pro 2+ 263 has a multi-angle centre column. Finally: feet. Some pods offer the option (either supplied or as optional extras) of different feet. Most pods come fitted with rubber feet and many experts prefer spikes, so this is an option to consider. Benro andMefoto: Cullmann: FLM: Gitzo: Kenro: Manfrotto: Slik: Vanguard:

and then you add the head to suit your needs and budget. The

basically lockable tubes that move up and down to vary camera height. Some are two- or even three- sectioned for extra height, some divide in two to allow low shooting and few are

most popular head type for stills is the ball head, which

RIGHT The Manfrotto Befree GT XPro’s centre column can be set at 90° for flatlays

LANDSCAPE PHOTOGRAPHY IS a challenge in normal times and it’s not going to get any easier in the middle of a pandemic. Even as this issue of Photography News goes to press, some areas of the country are in lockdown and, with the situation very fluid, you need to take note of the current guidelines. At least you can enjoy the outdoors without a face mask, although if you don’t have one stashed in your camera bag right now, perhaps you should, in case you need to pop into a shop for a bottle of water. Experienced landscape photographers will tell you that summer is probably the least productive of the four seasons, and they are probably right. Because the sun is high in the sky for much of day, the lighting is harsh and cool, and you’ll either have to get up very early or stay out late for more a photogenic look. On the other hand, it’s a great season for dramatic cumulus clouds and, with the help of the ever-useful

polariser, you can cut down glare and enhance colour saturation to make the most of scenes. Summer is great time to experiment – it’s warm and there’s lots of light around. Perhaps it’s the time to try those creative or art filters your camera has, or its multiple exposure mode. With some extra kit, you could try infrared shooting with an infrared filter, because there’s more IR around when the sun is strong, or buy or make a pinhole for your camera – all you need is a spare lens cap, a small piece of aluminium foil from a drinks can and some basic DIY skills. And if DIY appeals, taking a plain filter and selectively covering it with Vaseline can make for an interesting soft-focus filter. If you’ve the budget, then look at Lensbabys and ‘art’ lenses like those from Petzval. Summer is a great season for your camera and you’re only limited by your imagination, so get out there and see what you can create.

In the bag

While shoulder bags are great in an urban setting, a photo backpack is the better choice when it comes to location shooting, especially if you have to walk any distance. Weight is evenly spread on each shoulder, a waist strap puts weight on your hips and a sternum strap helps with comfort. Quick access to contents is usually less of an issue, and while there are backpacks that allow you to get at the contents without taking it off, the ideal backpack for scenic photography needs to be big enough to get your kit in while protecting it, and with space for water, snacks and waterproofs, and comfortable to carry for a long time. It should have a rain cover

(built-in or separate) and the facility to take a tripod would be good. So basically, everything you need for your location shoot is on your back, which leaves your hands free. Manfrotto: Lowepro: MindShift andThinkTank: PeakDesign: Shimoda andTenba: Tamrac:

ABOVE The MindShift FirstLight 30L backpack costs £260. It has an adjustable torso to suit different heights and the main compartment can take a 500mm lens on the body

12 Photography News | Issue 80

Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32

Powered by